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February 08 2013

This week in 1919: The birth of Egypt’s Hitchcock

One of Egypt’s pioneering filmmakers, Kamal El Sheikh, was born on 5 February 94 years ago.

Sheikh is known as the “Egyptian Hitchcock,” after British film director Alfred Hitchcock, because of the similarities between the two filmmakers’ styles.

Sheikh, who died in 2004, directed 35 films. His first movie was “House No. 13” (Al-Manzel Raqam 13) in 1952 and his last was “The Time Conqueror” (Kaher al-Zaman) in 1987.

Unlike Hitchcock, whose first few films were not that successful, Sheikh’s “House No. 13” garnered both commercial success and critical acclaim.

The film’s plot was quite complex compared to mainstream cinema at that time, which tended to rely on simplistic romantic themes and songs. In the experimental thriller, a psychiatrist hypnotizes one of his patients to kill people.

But Sheikh’s directorial and intellectual style crystallized more in his third film, “Life or Death,” (Hayat Aw Mout), produced in 1955. Critics consider “Life or Death” one of the greatest Egyptian films ever made. It is one of the few films made during that era with Cairo as its main focus. (Egypt independent)


More :

Reposted from02mysoup-aa 02mysoup-aa

January 04 2012

Egypte-actualités : suite... |

Suite à ma note précédente, je vous informe que nous pourrons continuer à nous retrouver... au point de départ de notre aventure commune, à savoir sur le blog qui a servi d'ébauche à cette revue de presse.


Je vous en rappelle l'adresse :


Le premier mini-dossier que je vous proposerai sera consacré à l' "affaire" des ONG perquisitionnées au Caire. Il est en cours de rédaction et sera publié vraisemblablement au début de la semaine prochaine.

Merci pour votre fidélité.

December 29 2011

Dulwich Picture Gallery saves St Cecilia from ruin – but who painted her?

As the rescued baroque picture goes on display following conservation work, the hunt for the artist begins

It was in the most sorry state imaginable – terribly torn, with parts peeling off, no frame, and almost black – and for about 150 years lay unloved at the back of the stores in one of the world's oldest public galleries.

Now, after a campaign that was launched in 2009 to restore it, the Dulwich Picture Gallery has put on display the baroque painting of St Cecilia, the patron saint of music – and it has turned out to be something of a stunner.

"This picture is a total dream to work on," said the gallery's chief curator, Xavier Bray. "Paintings that need a total restoration tend to be very exciting. There's always that chance you might uncover a lost Caravaggio; highly unlikely, but a chance certainly of uncovering a very good picture."

The painting looks wonderful, shines a light on the fascinating history of the gallery itself, and also raises a new mystery: just who was the painter?

The work was bought in 1790 by one of the gallery's founders, Noel Joseph Desenfans, under the impression it was by the Bolognese master Annibale Carracci. Bray said it was "not good enough" to be a Carracci, but whoever did paint it could have been inspired by the Carracci school.

Desenfans and his business partner Sir Francis Bourgeois, the gallery's other founder, thought they had a masterpiece and so wanted it hung prominently in the "skylight" room of the beautiful home they shared in what is now Hallam Street, in the West End of London.

They also wanted it hung as a companion piece to a portrait of the actor Sarah Siddons by their friend Joshua Reynolds. But that meant making it much bigger, a job that Bourgeois, a not terribly distinguished landscape painter, took on with vigour.

Exactly what was on their mind is open for debate. "I wonder whether it was about the personification of theatre on one side and in St Cecilia the personification of music," said Bray.

They may also have been paying homage to their friend Reynolds, elevating his place in art history by placing work by the still-alive English artist in the same room as Bolognese masters.

There is talk about the relationship between the two founders; some have even speculated of a ménage a trois involving Mrs Desenfans. Certainly they were close as all three are buried together in the gallery's mausoleum, their bones mixed up because of a German wartime bomb.

Whatever the truth, the Bourgeois additions were not a good thing. In 1842 the Victorian art critic Anna Jameson wrote that she had "seldom seen a picture so shamefully maltreated – so patched and repainted … [Sir Francis Bourgeois's] hand is clearly distinguishable."

Bray said: "These additions very quickly started to peel off and then eventually the canvas gets ripped and slashed and was almost totally black. It ended up in a really sad state."

In 2009 the Friends of Dulwich Picture Gallery adopted the painting and the results of the spectacular conservation can now be seen.

The gallery now very much wants to establish who the painter is.

Bray has tried all his friends in the curating world and been through all the artists of the Bolognese, Neapolitan and Veronese schools. "I've been trying all over Italy to find a similar hand. It is a really tricky one but now it's cleaned, people will be able to make a more educated guess."

Bray's best guess so far – a wild one, he cheerfully admits – is that it could be the work of a woman artist. He is aware he might be criticised for a hunch that is partly based on the artist's attention to the detail of what St Cecilia is wearing, her jewellery, and her hair. "There is a woman artist called Ginevra Cantofoli who trained in Bologna.

"I need to see much more by her and I need to go and see her work, but it does seem uncannily close.

"I'm sure it will happen one day, I'll find out who painted it. It will probably come from being in Italy, having a good lunch and stumbling in to a church and seeing an altarpiece by the same hand."

There are many other possibilities and Bray said he can sound like he's naming the Italian football team when speculating. "It's still a mystery but it's a fantastic conundrum for the gallery to have. It may even be a painting by a good painter early in his career. Could it be an early Guercino when he hasn't got it quite right?"

The painting now hangs at eye level at Dulwich, near a painting that is definitely by Carraccia, around the corner from the Reynolds and not far from a painting that Desenfans and Bourgeois also once hung in their skylight room.

Domenichino's The Adoration of the Shepherds was sold by the then cash-strapped Dulwich in the 1970s but has been loaned back to them by the National Gallery of Scotland to help the gallery celebrate its 200th birthday.

Bray admits he was not always a fan of the restored painting.

"It has grown on me, I have to admit. When I first saw her I thought her expression was pretty weedy, but it's grown on me.

"It is a good example of a baroque 17th century Bolognese painting and Dulwich is the place to come for anyone interested in the baroque."

Great Restorations

One of the trickiest restorations of recent decades was the National Gallery's huge altarpiece, Cima's The Incredulity of St Thomas, partly because of the sorry state it has been in for much of the last 200 years. Commissioned in 1497 and completed in 1504, the altarpiece was already in bad condition when it was submerged in the salty water of Venice's Grand Canal in the 1820s. The flood, at the Accademia, caused major damage but did not stop the National Gallery buying it in 1870 for £1,800.

The work needed almost continuous blister laying. In 1947, when the extremely cold winter led to the gallery's heating being turned up, it suffered more flaking than any almost any other picture.

It was not until 1969 that it was taken out of the stores and the dramatic decision was made to transfer the painting to a new panel. It was an enormous risk but successful and the work now looks serenely down on visitors to room 61.

John Martin's The Destruction of Pompeii and Herculaneum was also the victim of flood. This time it was 1928 and the desperately out of fashion Victorian painter's work was in Tate's basement stores on Millbank. The Tate suffered its worst flood when the Thames burst its banks, causing terrible damage to works.

The Martin was torn in two and lost about a fifth of its surface, including the volcano. It was considered "damaged beyond repair".

In 2010, with this year's big Martin show in mind, it was decided to restore the painting's missing section.

Now, if you look very closely, you can see which is Martin's brushwork and which is restorer Sarah Maisey's. She said: "I've tried to tone down a lot of the detail. I wanted the overall impact of Martin's work to have been retained but ultimately wanted people to be able to appreciate what was left of John Martin's work." © 2011 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

December 28 2011

Art review: 'The Renaissance Portrait from Donatello to Bellini' -

NorthJersey.comArt review: 'The Renaissance Portrait from Donatello to Bellini'NorthJersey.comMetropolitan Museum of Art, 1000 Fifth Ave. at 82nd Street; 212-535-7710 or metmuseum. org. Through March 18.

//oAnth - original source:

September 29 2011

Frank Lloyd Wright House In Milwaukee On Sale For Under $200,000 (PHOTOS)

Although his expansive, organic Prairie-style mansions may be the most memorable landmarks of Frank Lloyd Wright's seven decade career, the architect was focused on making artfully-constructed homes available to moderate- and low-income families.

Reposted from02mysoup-aa 02mysoup-aa

September 07 2011


August 07 2011


July 19 2011

Details about the sale of the Darmstadt Madonna by Holbein the Younger from 1526 | - 2011-07-15


The reason for the sale is that the Hesse family was faced with an inheritance tax bill of DM25m after the death in 1997 of the last of the southern branch of the family, Margaret von Hesse and bei Rhein, and the consequent merger of all its holdings with the northern, Kassel, branch of the family.

Germany has no equivalent of the British or French methods for paying tax with works of art, nor does it have an independent tribunal to assess the true market value of an unexportable work. Christoph Douglas, who negotiated the sale, persuaded the prince to give the Städel Museum in Frankfurt first refusal, but it was unable to raise more than €40m. He then nearly succeeded in a deal whereby the museum and Reinhold Würth would share both the picture and the cost 50/50, but this failed due to lawyers' worries over what would happen on the death of Würth.


Reposted from02mysoup-aa 02mysoup-aa

July 12 2011


Dürer and Montagine - on emulatio vs imitatio | twitter and - Renaissance

via Evernote

Montaigne, on borrowing ideas from others: "The bees plunder the flowers here and there, but afterward they make of them honey...all theirs" 

Jennifer Park


[Emulation or Imitation: The Case of Dürer vs. Raimondi Exhibition Review]

Smith College Museum of Art has a knack for salvaging early modern works from the usual curatorial platitudes to recast objects in entirely unexpected ways. Emulation or Imitation: The Case of Dürer vs. Raimondi plays to interests in contemporary cultural issues of copyright infringement and the unauthorized reproduction of creative material by contextualizing the two artists’ prints within the framework of such debates. The show presents several original prints by Albrecht Dürer and corresponding copies by Marcantonio Raimondi, mostly from the former’s Life of the Virgin series. Though Dürer and Raimondi act as the major players of the show, approximately twenty-five prints from a variety of Renaissance artists are arranged to develop distinct categories of visual citation, including emulation, imitation, and outright copying.

Ironically, the exhibition’s endeavor to demonstrate Dürer’s relevance depends upon decidedly unfashionable art historical methodologies--I’m talking about that body of Morellian arts we call connoisseurship--and it works. Dürer presented a legal case against Raimondi not because the Italian artist was copying his prints, but rather, because he disseminated works bearing Dürer’s distinctive AD signature. Several of Raimondi’s copies are therefore almost identical to their Dürer models, and were intended to pass as such. Connoisseurship is crucial to the premise of the show, allowing the curators to distinguish “original” from “copy”, and to arrange the objects as such for public viewing. Implicitly, Emulation or Imitation advocates the reassessment of a methodology too often dismissed by contemporary academe, while also prompting questions about the problematic dichotomy between “real” and “fake”.


via Evernote

June 11 2011

Rätsel zum Wochenende

Da die naturwissenschaftlichen Rätsel immer schnell gelöst wurden, diesmal etwas aus einem anderen Bereich. Wir suchen einen Kunstgegenstand und seinen Standort.

Dem Sieger winkt wie immer ewiger Ruhm und als besondere Anerkennung ein Schälchen frischer Sprossen.


// oAnth

Google Suche: Türkenmadonnen

2 pdfs zu Türkenmadonnen:

a) Das religiös geprägte Türkenbild

b) Feindbild Islam – Feindbild Christentum

die hier gemeinte Madonna (Bild)

Ein versteckte Tücke bei dem Rätsel ist der verschlüsselnde Umgang mit dem Homonymen-Paar - "ahr" und "aar"


zu 'ahr' -

zu 'aar'

Und zu guter letzt das ganz besondere Zitat für Leute mit Sendungsbewusstsein, die sich der charismatischen Neigung zur großen geschichtlichen Aufgabe gewachsen fühlen.

Türkenmadonnen im Kreise Ahrweiler [~1958]

"... So bildet das Kunstwerk von Ahrweiler inhaltlich, trotz vieler Übereinstimmungen mit den vorbeschriebenen, eine interessante Variante unseres Themas. Knüpfen wir zum Schlüsse dieser Studie an die Gedanken an, die wir eingangs zum Ausdruck brachten: Es ist nicht mehr der Islam, der das christliche Abendland bedroht: diesmal kommt die Gefahr aus dem von kommunistischmaterialistischen Ideologen durchsetzten Nahen und Fernen Osten. Sie wird nur dann unabwendbar sein, wenn das Abendland nicht mehr die innere Kraft aufzubringen vermag, ihr zu begegnen. Letztlich wird der Untergang des Abendlandes nicht durch militärische Pakte und Rüstungen gebannt, sondern durch Besinnung auf die Macht christlichen Glaubens und Betens, wie sie einst in den Kunstwerken, die hier vorgestellt wurden, so eindringlich und mitreißend Gestalt annahm."
Reposted fromsofiasinports sofiasinports

May 01 2011

lynch empire - a video essay
Reposted frommidnightradio midnightradio

April 19 2011


IFA: Neuzeitlicher Nutzbau






1 Schlossbrücke Königsberg/Kaliningrad, 1909, Wettbewerbsbeitrag
2 Werdermühle Breslau/Wroc&#c322;aw, 1907/1908, Projekt
3 Wasserturm für Winterhude, Hamburg, 1906/1907, Wettbewerbsbeitrag
4 Wasserturm an der Sternschanze, Hamburg, 1906/1907, Wettbewerbsbeitrag
5 Talsperre Klingenberg, 1908-1914, Aussichtskanzel
Fotos: Architekturmuseum der TU Berlin (1-4), Sabrina Dohle (5)

Neuzeitlicher Nutzbau

Den Industriebau nannte Poelzig 1911 "die wahre Monumentalbauaufgabe der Gegenwart". Das Wort bezeichnet den Widerspruch, der sich aus der Größe der Bauten einerseits und ihrer Ansiedlung ganz unten in der Hierarchie der Bauaufgaben ergab. Hinzu kamen die dem traditionellen architektonischen Empfinden konträren Eigenschaften neuer Baumaterialien: des Eisens, das im Verhältnis zum Stein bei gleicher Tragfähigkeit sehr viel geringer dimensioniert werden konnte, aber auch des armierten Betons, der nach den Regeln der Materialgerechtigkeit nicht bloß kaschiert in Erscheinung treten sollte.
Während Poelzig bei seinen frühen Wasserturm-Entwürfen für Hamburg (1906) den  Wasserbehälter im oberen Teil des Bauwerks noch mit vor allem optisch wirksamen, mächtig gegliederten Substruktionen auffängt, setzt er beim Entwurf für die Breslauer Werdermühle (1907) bereits ausschließlich auf die geschlossene Silhouette gestaffelter Baukörper.
Einzelne Bauten der Chemischen Fabrik in Luban (1910 – 1911) ebenso wie der Ausstellungs- und Wasserturm für Posen (1911) machen die eiserne Armierung ihrer Außenwände ablesbar etwa in der dünnen Profilierung der Oberfläche und dem strengen Raster der Wandöffnungen. Was dem Detail an Plastizität fehlt, ersetzt Poelzig durch die Großform: gotisierende Stufengiebel mit gemauerten Wandvorlagen oder die gestufte Silhouette eines ganzen Baukörpers prägen die Fernansichten der Gebäudes in Luban, die ohne Platzbildung, lediglich entlang weitgehend parallell verlaufender Zubringergleise errichtet wurden.
Das Geschäftshaus in der Breslauer Junkernstraße (1911 – 1913) bricht mit der bis dahin im Geschäftshausbau üblichen Vertikalgliederung. Mit der Betonung der Horizontalen wird das stockwerkweise Auskragen der Brüstungen optisch aufgefangen.
Die als reine Gewichtsstaumauer im konventionellen Steinverband errichtete Talsperre in Klingenberg (1908 – 1914) ist mit einer Art Tempelgiebel bekrönt.


U B U W E B - Film & Video: Alvar Aalto - Technology and Nature (1996)

"The Finnish architect Alvar Aalto (1898–1976) is one of the great figures of modern architecture, ranked alongside Gropius, Le Corbusier and Mies van der Rohe. This film analyses Aalto’s uniquely successful resolution of the demands and possibilities created by new technology and construction materials with the need to make his buildings sympathetic both to their users and to their natural surroundings. His inventive use of timber in particular represents both a reference to the forest landscape of Finland and a building material that is ‘warm’ and extremely adaptable. Filmed in Finland, Italy, Germany and the USA, this documentary shows how the Finnish natural environment and art traditions were essential elements in Aalto’s pioneering harmonization of technology and nature."
Reposted fromrobertogreco robertogreco

April 14 2011

3 #Dada Magazines (mostly by Tristan Tzara, 1917-18) | pdf at @Ubuweb via Miscellanea, a daily - edited by @ramage -
Twitter / 02mytwi01: 3 #Dada Magazines (mostly ...

U B U W E B :: Dada Magazine

Dada Magazine (1917-1918)

Dada 1, July 1917 [PDF, 2.7mb]
Dada 2, December 1917 [PDF, 3.1mb]
Dada 3, December 1918 [PDF, 7mb]

Attempting to promulgate Dada ideas throughout Europe, Tristan Tzara launched the art and literature review Dada. Although, at the outset, it was planned that Dada members would take turns editing the review and that an editorial board would be created to make important decisions, Tzara quickly assumed control of the journal. But, as Richter said, in the end no one but Tzara had the talent for the job, and, "everyone was happy to watch such a brilliant editor at work."[10] Appearing in July 1917, the first issue of Dada, subtitled Miscellany of Art and Literature, featured contributions from members of avant-garde groups throughout Europe, including Giorgio de Chirico, Robert Delaunay, and Wassily Kandinsky. Marking the magazine's debut, Tzara wrote in the Zurich Chronicle, "Mysterious creation! Magic Revolver! The Dada Movement is Launched." Word of Dada quickly spread: Tzara's new review was purchased widely and found its way into every country in Europe, and its international status was established.

While the first two issues of Dada (the second appeared in December 1917) followed the structured format of Cabaret Voltaire, the third issue of Dada (December 1918) was decidedly different and marked significant changes within the Dada movement itself. Issue number 3 violated all the rules and conventions in typography and layout and undermined established notions of order and logic. Printed in newspaper format in both French and German editions, it embodies Dada's celebration of nonsense and chaos with an explosive mixture of manifestos, poetry, and advertisementsÑall typeset in randomly ordered lettering.

The unconventional and experimental design was matched only by the radical declarations contained within the third issue of Dada. Included is Tzara's "Dada Manifesto of 1918," which was read at Meise Hall in Zurich on July 23, 1918, and is perhaps the most important of the Dadaist manifestos. In it Tzara proclaimed:

Dada: the abolition of logic, the dance of the impotents of creation; Dada: abolition of all the social hierarchies and equations set up by our valets to preserve values; Dada: every object, all objects, sentiments and obscurities, phantoms and the precise shock of parallel lines, are weapons in the fight; Dada: abolition of memory; Dada: abolition of archaeology; Dada: abolition of the prophets; Dada: abolition of the future; Dada: absolute and unquestionable faith in every god that is the product of spontaneity.
With the third issue of Dada, Tzara caught the attention of the European avant-garde and signaled the growth and impact of the movement. Francis Picabia, who was in New York at the time, and Hans Richter were among the figures who, by signing their names to this issue, now aligned themselves with Dada. Picabia praised the issue:
Dada 3 has just arrived. Bravo! This issue is wonderful. It has done me a great deal of good to read in Switzerland, at last, something that is not absolutely stupid. The whole thing is really excellent. The manifesto is the expression of all philosophies that seek truth; when there is no truth there are only conventions.



PDF conversions by Phil Julian


Helmut Herbst, "Deutschland Dada" in UbuWeb Film
Hans Richter in UbuWeb Film
Tristan Tzara in UbuWeb Sound




March 02 2011

9611 150a


Unknown Artist-Seated figure with head resting on hand, Mexico, Puebla, Las Bocas, 1200-800 BC, White-slipped ceramic, 13 x 9 x 7.5 cm

Reposted fromStellaVista StellaVista

January 24 2011

Nahm er Dada ernst?
- via Adolf Hitler looking at things. : Adolf Hitler looking at contemporary art.


// Aufnahme von 1936 anlässlich der in diffamierender Absicht inszenierten Austellung "Enartete Kunst" im Haus [der Deutschen - Nazijargon] Kunst in München -  oanth.
Reposted fromhenteaser henteaser
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